Note: This project is running in Unreal Engine 4, not rendered in Blender. All of the low poly modeling, high poly modeling, and UV work was done exclusively in Blender.
Hello everyone once again! It’s always good to come back and post something on these forums! After these past several years of being hounded by college professors and fellow students to change to Maya, I remain resolute in my use of Blender!
Nice job dude! The amount of detail that you went into is crazy! I did notice that the boards looked a little odd, but hey, I guess that’s Unreal Engine. Also, to get that level of detail with Unreal is awesome. My vote for the feature row!
So these run in realtime? It could have easilly passed as a rendered scene, really awesome work!
I comp with janmorek, the mood and atmosphere is wonderfull, the dust and volumetric lightstreams really add to it. Only things that caught my eye, was the floorplanks, the blanket and the seemingly low poly cord running in the ceiling, that also seems to lack a prorper material. On the other side, the shattered glass, majority of the props and the lighting is top notch.
Several things gives in that it’s low poly (example that cable hanging from the roof. But it’s definitely awesome work! Unreal Engine seems to produce great graphics. Hope it runs real time smooth.
Truly inspirational stuff, your modelling, texturing, lighting and composition skills are all AAA industry standard. Exactly the kind of stuff that needs to be shared to show people that Blender can produce work as good as any other modelling software package.
Nice detail. Only thing I’d do to it is to change the color of the daylight, which is apparently pure-white and blown-out to the point where it makes me squint. I like colored daylight. Pure-white says to me, rather instinctively, “overexposure.” If that sheet of film is totally-clear or totally-black at any point, it’s not going to print well.
I guess my point-of-view is also altered from having been, for a time, a “real” photographer who had to get inside those places and come away with a decent shot … on film, where the only approximation you had was a Polaroid. We took a bunch of lights in there. Timed the exposure so that the gaps in the roof seemed to be the only source of light but, out of pure necessity, added a lot of other, unobtrusive light too. The face of that piece of luggage closest to the camera, for example, would have been lit in the shot with “all that sunlight,” even if was later “dodged” in the darkroom. And so on.
“God-beams?” Looks cool, defines the direction of the light, obligatory maybe, but not realistic. The atmosphere in the car is obviously clear. Yeah, there is a spray that you can use (on a real shoot), but it rarely looks good.
And lns flre?" Gaack. As anathema to a pro shooter as a "sh*nk’ is to a golfer. Pore over the negative looking for it, find it, out it goes.
However … there’s also the element of drama, and of intended-use. This is very dramatic lighting. If the star of the show were fighting a bad-guy in that pool of light, why, it’s a spotlight! And so on. Very impressive work, and especially so for being low-poly.
I think at the end there you hit on exactly why I don’t tend to go for pure flat realism. Things like the light beams and the over exposure of the exterior are used to stylistic effect, and to add that extra sense of drama, as you put it.
The scene was never constructed in full in Blender. I modeled each individual asset in Blender and brought them into Unreal one at a time, building the scene up there.
Exactly so. And what you’ve got is a powerful, dramatic setting that oh-by-the-by runs in Unreal. You’ve really used light for powerful effects. Great work.
